LaurieAnnie's photos with the keyword: Orpheus

Orpheus and Eurydice, probably modeled before 1887, executed 1893 Auguste Rodin (French, 1840–1917) Marble; H. 50 in. (127 cm) Gift of Thomas F. Ryan, 1910 (10.63.2) Originally modeled for The Gates of Hell, where it was apparently intended to illustrate a poem from Baudelaire's The Flowers of Evil, this group was abandoned in the final version of The Gates. Rodin gave it a second existence with a title inspired by a story from Ovid's Metamorphoses. The body of Eurydice is recognizable as that of one of the anguished figures that occupy the lintel of The Gates on the left of the Thinker, and it exemplifies Rodin's propensity for exploring the multiple interpretations that a single form can be made to yield. This marble was purchased by Charles T. Yerkes about 1893, beginning what would prove to be more than a century of private collecting of Rodin's sculpture in America. Text from: www.metmuseum.org/toah/hd/rodn/ho_10.63.2.htm

Orpheus and Eurydice, probably modeled before 1887, executed 1893 Auguste Rodin (French, 1840–1917) Marble; H. 50 in. (127 cm) Gift of Thomas F. Ryan, 1910 (10.63.2) Originally modeled for The Gates of Hell, where it was apparently intended to illustrate a poem from Baudelaire's The Flowers of Evil, this group was abandoned in the final version of The Gates. Rodin gave it a second existence with a title inspired by a story from Ovid's Metamorphoses. The body of Eurydice is recognizable as that of one of the anguished figures that occupy the lintel of The Gates on the left of the Thinker, and it exemplifies Rodin's propensity for exploring the multiple interpretations that a single form can be made to yield. This marble was purchased by Charles T. Yerkes about 1893, beginning what would prove to be more than a century of private collecting of Rodin's sculpture in America. Text from: www.metmuseum.org/toah/hd/rodn/ho_10.63.2.htm

Orpheus playing to the animals Orpheus Master Date: early 16th century Culture: Italian Medium: Bronze Dimensions: Diam. 4 1/8 in. (10.5 cm.) Classification: Medals and Plaquettes Credit Line: The Erich Lederer Collection, Gift of Mrs. Erich Lederer, 1986 Accession Number: 1986.319.29 Text from: www.metmuseum.org/Collections/search-the-collections/1200...

Poet as Orpheus with Two Sirens Unknown Greek, Tares, South Italy, about 350 - 300 B.C. Terracotta and pigment A seated man is flanked by sirens, creatures part bird and part woman, in this nearly life-size terracotta group. In Greek mythology, the singing of the sirens lured sailors to their deaths; thus the creatures have general funerary connotations. The seated man is also a singer, as shown by his open mouth and his now-missing lyre, which he once cradled in his left arm. His precise identity, however, is uncertain. He might be Orpheus, who was famous for his singing and who traveled to the land of the dead and was able to return. But in art of this period, Orpheus is usually shown wearing a specific Eastern costume not seen here. Therefore, this man may just be an ordinary mortal, perhaps the deceased, in the guise of a poet or singer. Originally brightly painted, this large-scale terracotta sculpture is characteristic of the Greek colonies in South Italy. With its funerary imagery, the group may have decorated a tomb. Although terracotta sculpture is also found in mainland Greece, artists in the Greek colonies in South Italy used this medium with greater frequency and on a larger scale because there were few sources of good stone suitable for sculpting. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=8398

Poet as Orpheus with Two Sirens Unknown Greek, Tares, South Italy, about 350 - 300 B.C. Terracotta and pigment A seated man is flanked by sirens, creatures part bird and part woman, in this nearly life-size terracotta group. In Greek mythology, the singing of the sirens lured sailors to their deaths; thus the creatures have general funerary connotations. The seated man is also a singer, as shown by his open mouth and his now-missing lyre, which he once cradled in his left arm. His precise identity, however, is uncertain. He might be Orpheus, who was famous for his singing and who traveled to the land of the dead and was able to return. But in art of this period, Orpheus is usually shown wearing a specific Eastern costume not seen here. Therefore, this man may just be an ordinary mortal, perhaps the deceased, in the guise of a poet or singer. Originally brightly painted, this large-scale terracotta sculpture is characteristic of the Greek colonies in South Italy. With its funerary imagery, the group may have decorated a tomb. Although terracotta sculpture is also found in mainland Greece, artists in the Greek colonies in South Italy used this medium with greater frequency and on a larger scale because there were few sources of good stone suitable for sculpting. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=8398

Mixing Vessel with the Death of Orpheus Greek, Made in Athens, 460-450 BC Terracotta Red-figured calyx krater attributed to the Villa Giulia Painter Inventory # 80.AE.71 Text from the Getty Villa museum label. Villa Giulia Painter active: about 470 B.C. - 440 B.C. Athens, Greece Vase-Painter Greek The Villa Giulia Painter decorated vases in Athens during the period from about 470 to 440 B.C. He worked primarily in the red-figure technique, but he also produced some white-ground pieces. Most of his work appears to have been on large vessels, especially kraters of various forms. The Villa Giulia Painter usually favored quiet scenes, but he also included many depictions of Dionysiac religion and unusual myths. As with most ancient artists, the real name of the Villa Giulia Painter is unknown, and he is identified only by the stylistic traits of his work. Scholars named him after a krater in the Villa Giulia Museum in Rome. Text from: www.getty.edu/art/gettyguide/artMakerDetails?maker=352